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Laurenz Brunner

font 'Akkurat'
© FOC / Körner Union, Lausanne

© FOC / Körner Union, Lausanne



Graphic Design



Font 'Akkurat'


Exactly between tradition and modernisation

Visual designer Laurenz Brunner, trained at the Rietveld Academie in Amsterdam and at the Central St. Martin's College in London, has developed a new typeface. The sans-serif 'Akkurat' refers to the tradition of Swiss sans-serif typefaces and despite all sobriety and solidity radiates an appealing optimism. Simple and unobtrusive at first sight, it reveals only on closer attention how much research and detail it contains. Laurenz Brunner designed the typeface 'Akkurat' during his year in London in 2002/2003. After many preliminary drafts he painted the letters by hand with acrylic colour on A4-sheets, as he describes in a brochure. 'Akkurat', now distributed by the typeface label '' and available in eight serrations from light to black is evidence of Laurenz Brunner's playful interaction with the legacy of modernist typeface design. The publication 'Beauty and the Book – 60 years 'The most beautiful Swiss books'' published in 2004 by the Federal Office of Culture used exclusively 'Akkurat' or 'Akkurat mono' respectively and shows how well the text flows with this new typeface. That it can also be used for larger text has been shown with the poster for the exhibition 'Frische Schriften' in the Museum für Gestaltung Zürich. The poster edition desgined by Laurenz Brunner for the 'Diplomschau 2005' at the Rietveld Academie also uses 'Akkurat' in its bold version, supplemented by various accentuations and non-western typefaces. The colourful variety of languages and peoples at the Amsterdam art school is visualized with an overlap of typeface- and colour layers in a simple but very effective way and simultaneously time ties in with the tradition of the typographically designed poster. Each of the 21 typefaces is assigned to a colour and with 2 to 21 printing processes over 100 variations of this poster were created. Laurenz Brunner belongs to a younger generation of designers – this year particularly well represented by Sibylle Hagmann and Aurèle Sack – who liven up typography with new and fresh impulses and manage to carry out a balancing act between tradition and modernisation.
Peter Stohler





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